Sibelius 2 Robertson Conducts. Beethoven s Missa Solemnis

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1 ANNE- SOPHIE MUTTER playsdvořák SPECIAL EVENT PREMIER PARTNER CREDIT SUISSE Wednesday 23 September 2015 Friday 25 September 2015 Saturday 26 September 2015

2 concert diary CLASSICAL Sibelius 2 Robertson Conducts SCULTHORPE Sun Music II WALTON Violin Concerto SIBELIUS Symphony No.2 David Robertson conductor Andrew Haveron violin Beethoven s Missa Solemnis BEETHOVEN Missa Solemnis David Robertson conductor Susanna Phillips soprano Olesya Petrova mezzo-soprano Stuart Skelton tenor (PICTURED) Shenyang bass Sydney Philharmonia Choirs Mozart and the Brits MOZART Adagio and Fugue BRITTEN Variations on a Theme of Frank Bridge ARNOLD Concerto for two violins Andrew Haveron violin-director with soloists from the SSO Audra McDonald sings Broadway An evening of Broadway classics and current hits Andy Einhorn conductor Audra McDonald vocalist Discover Richard Strauss R STRAUSS Death and Transfiguration Richard Gill conductor Thursday Afternoon Symphony Thu 8 Oct 1.30pm Emirates Metro Series Fri 9 Oct 8pm Great Classics Sat 10 Oct 2pm Pre-concert talk by David Robertson 45 minutes before each performance APT Master Series Wed 14 Oct 8pm Fri 16 Oct 8pm Sat 17 Oct 8pm Pre-concert talk by David Garrett 45 minutes before each performance Mozart in the City Thu 5 Nov 7pm City Recital Hall Angel Place Pre-concert talk by David Garrett at 6.15pm Meet the Music Thu 5 Nov 6.30pm Kaleidoscope Fri 6 Nov 8pm Sat 7 Nov 8pm Pre-concert talk 45 minutes before each performance Discovery Tue 10 Nov 6.30pm City Recital Hall Angel Place Pictures at an Exhibition DUKAS La Péri: Fanfare SAINT-SAËNS Piano Concerto No.2* HOLLEY Oboe Concerto premiere MUSSORGSKY orch. Ravel Pictures at an Exhibition* Miguel Harth-Bedoya conductor (PICTURED) Vadym Kholodenko piano Shefali Pryor oboe Meet the Music Wed 11 Nov 6.30pm Thursday Afternoon Symphony Thu 12 Nov 1.30pm *Tea & Symphony Fri 13 Nov 11am complimentary morning tea from 10am 7 Mon 16 Nov 7pm Pre-concert talk 45 minutes before each performance (except Friday) FOR COMPLETE DETAILS OF THE 2015 SEASON VISIT SYDNEYSYMPHONY.COM CALL Mon Fri 9am 5pm NO FEES WHEN YOU BOOK CLASSICAL CONCERTS ONLINE WITH THE SSO Tickets also available at SYDNEYOPERAHOUSE.COM Mon Sat 9am 8.30pm Sun 10am 6pm All concerts at Sydney Opera House

3 WELCOME Credit Suisse warmly welcomes you to this highlight of the Sydney Symphony Orchestra s season, which sees Anne-Sophie Mutter make her third visit to Australia to perform for Sydney music lovers. For her Australian debut in 2012, Anne-Sophie Mutter played the Beethoven concerto; last year she returned with a selection of Mozart violin concertos. On both occasions her performances were rewarded with standing ovations. As Premier Partner of the SSO we are proud to have played a role in supporting these appearances. This year, the undisputed queen of violin playing returns with two expressive and lyrical works by the Czech composer Antonín Dvořák: his early Romance for violin and orchestra and his Violin Concerto. Once again, Credit Suisse is delighted to be supporting these special concerts and helping bring to Sydney a true musical star. We hope you enjoy this evening s concert and we look forward to seeing you at future performances by the SSO. John Knox Chief Executive Officer Credit Suisse Australia

4 2015 concert season SPECIAL EVENT PREMIER PARTNER CREDIT SUISSE WEDNESDAY 23 SEPTEMBER, 8PM FRIDAY 25 SEPTEMBER, 8PM SATURDAY 26 SEPTEMBER, 8PM SYDNEY OPERA HOUSE CONCERT HALL ANNE-SOPHIE MUTTER PLAYS DVOŘÁK Jakub Hrůša conductor Anne-Sophie Mutter violin ANTONÍN DVOŘÁK ( ) Romance in F minor for violin and orchestra, Op.11 (B.39) DVOŘÁK Violin Concerto in A minor, Op.53 (B.108) Allegro ma non troppo Adagio ma non troppo Allegro giocoso, ma non troppo INTERVAL LUDWIG VAN BEETHOVEN ( ) Symphony No.3 in E flat, Op.55, Eroica Allegro con brio Marcia funèbre (Adagio assai) Scherzo (Allegro vivace) Finale (Allegro molto) Saturday night s performance will be broadcast live across Australia by ABC Classic FM. Pre-concert talk by Genevieve Huppert at 7.15pm in the Northern Foyer. Estimated durations: 12 minutes, 32 minutes, 20-minute interval, 47 minutes The concert will conclude at approximately 10.05pm. COVER PHOTO CREDIT: Harald Hoffman / Deutsche Grammophon

5 HARALD HOFFMANN / DG 6

6 INTRODUCTION Anne-Sophie Mutter plays Dvořák In 2012, we were delighted to welcome Anne-Sophie Mutter to Sydney for her long-awaited Australian debut. She played the Beethoven concerto and the warmth of the audience response spoke volumes: visit us again! Last year she returned for a more intimate performance directing Mozart concertos from the violin. And now, for the third time in four years, the undisputed queen of violin playing is back on the stage of the Sydney Opera House for more impressive music-making. The musical relationship that began with monumental Beethoven and has included the classical elegance of Mozart, now turns to the lyrical and romantic voice of Antonín Dvořák. Over the course of her career, Anne-Sophie Mutter has made many recordings enough to fill a magnificent boxed set that was released in But of the great violin works in the romantic repertoire, one of the few she hadn t recorded at that point was the Dvořák concerto. That gap was filled just recently in a recording with the Berlin Philharmonic and Manfred Honeck. In an interview that she gave around the time of the recording, Anne-Sophie Mutter described the concerto as requiring a kind of Brahmsian voluptuousness. It needs, she says, a particularly rich, plentiful and colourful sound but sometimes also a slim and agile sound. The orchestral part is very symphonic and yet it requires a transparent approach. The violin isn t always soaring above the orchestra in its high registers, she points out, it also moves into the darker sounds. That flexibility of expression, together with the sheer variety of Dvořák s ideas, makes this a wonderful concerto to get to know. Tonight we conclude with one of the grandest orchestral creations of the early 19th century: Beethoven s Sinfonia eroica. This is ground-breaking music that makes a very public statement. But the concert begins with the quiet intimacy of Dvořák s Romance for violin and orchestra, which had its origins in chamber music that is, appropriately enough, music for performance among friends. PLEASE SHARE Programs grow on trees help us be environmentally responsible and keep ticket prices down by sharing your program with your companion. READ IN ADVANCE You can also read SSO program books on your computer or mobile device by visiting our online program library in the week leading up to the concert: sydneysymphony.com/ program_library 7

7 ABOUT THE MUSIC Antonín Dvořák Romance in F minor for violin and orchestra, Op.11 (B.39) Anne-Sophie Mutter violin Dvořák s Romance for violin and orchestra had its origins in the slow movement of a string quartet the young composer completed just six weeks before his marriage to Anna Čermáková in Prague in November This was the Quartet in F minor, the fifth of the composer s 14 extant, complete quartets, a work which remained unpublished until The great Dvořák scholar Otakar Šourek saw this string quartet as autobiographical, contrasting the poverty and failures of the composer s earlier life with his optimism for a happily married future. That interpretation, however, is speculative. Nor is there any indication that romantic love inspired Dvořák s designation Romance for his new composition, which he completed probably in 1877 and first heard performed by Josef Markus in December of that year. Dvořák doubtless thought of romance (or romanza) as the sort of song without words, or instrumental serenade, implied Keynotes DVOŘÁK Born Nelahozeves, 1841 Died Prague, 1904 When he was 37 Dvořák went from being a struggling young artist getting by on a state grant to a composer with burgeoning international fame. He found a publisher, had his first real success as an opera composer, and his Slavonic Dances for piano duet caused a run on the music shops. Twenty years later he was well established as one of the great Czech composers of the 19th century. DE AGOSTINI / LEBRECHT MUSIC & ARTS 8

8 in 18th-century usage such as Mozart s Eine kleine Nachtmusik and Haydn s Symphony No.85, La Reine. More specific models were probably Beethoven s two familiar Romances for violin and orchestra. And they reflect what Dvořák was consciously attempting to break away from the siren allure of fashionable Wagnerian style and achieve mastery of traditional musical structure, sonata form in particular. The new composition must have been a success. While the original string quartet remained on the shelf, the Romance (in separate versions with orchestral and piano accompaniment) was promptly published in 1879 by Fritz Simrock in Berlin, to whom Brahms had introduced the young Czech composer, and who was already enjoying runaway success with Dvořák s first set of Slavonic Dances. The Romance is dominated, as was the original string quartet movement, by a loftily gliding main theme which emerges in the fullness of its aplomb only when the solo violin pulls together the elements of a short, canonic introduction. For his new sonata structure the quartet original was in rondo form Dvořák in fact provides not one but two new themes: first a singing melody over an irregular rocking accompaniment, then a descending theme which supports a striding orchestral tutti ahead of a highly competent development and recapitulation. This relatively early work already displays characteristic signs of the mature Dvořák, not least in the dying fall in the of the main theme s second phrase and in the expressive colouring of the winds and brass as they accompany the soloist into the sunset. Dvořák was attempting to break away from the siren allure of fashionable Wagnerian style ANTHONY CANE 2003 The orchestra for Dvořák s Romance comprises pairs of flutes, oboes, clarinets, bassoons and horns; and strings. The only SSO performances of the Romance in our records took place in 1997 in a set of concerts that included a tribute to concertmaster Donald Hazelwood, with Edo de Waart conducting and Hazelwood as soloist. 9

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10 Dvořák Violin Concerto in A minor, Op.53 (B.108) Allegro ma non troppo Adagio ma non troppo Allegro giocoso, ma non troppo The first and second movements are played without pause. Anne-Sophie Mutter violin It was probably on the recommendation of Brahms that the great Joseph Joachim became the dedicatee of the only violin concerto composed by Dvořák. Ironically, however, Joachim was never to play it. Brahms had composed his own Violin Concerto for Joachim in 1878, and seems to have recommended Dvořák to the violinist by giving him a couple of Dvořák s chamber works for performances in Berlin and London. Encouraged by Joachim s interest, Dvořák visited him in Berlin in July 1879 to discuss the idea of a concerto. He sent him a completed draft in November, followed by a full revision, incorporating Joachim s suggestions, in May In its new version, he believed, the whole concerto has been transformed. Even so, it was not altogether to the virtuoso s liking. After a further two years, Joachim revised the solo part and suggested that Dvořák lighten the orchestration. Although the composer would agree to only minor changes, in particular rejecting any suggestion of separating the linked opening movements, Joachim nevertheless committed himself to launching the work in London in That premiere was abandoned when Dvořák found he was not free to conduct. Joachim now lost interest. Dvořák turned to the young Czech violinist František Ondříček, who promptly gave the first performance in Prague on 14 October 1883 and proceeded to play the concerto throughout Europe with great success. Joachim s obviously strong reservations about the concerto doubtless reflect his firmly traditionalist view of Classical structure and balance in music. He seems to have felt unable wholeheartedly to lend his name to a work so untraditional, particularly in its first two movements. He quite possibly disliked the improvisatory nature of the concerto, finding Dvořák s artistic integrity perhaps compromised by his failure to carry through a proper sonata structure in the opening movement. Likewise, he doubtless agreed with the publisher Simrock that the opening movements should be separated; and as the outstanding virtuoso violinist of the day he must have wondered at the lack of opportunity for a cadenza, even though there is brilliance enough in the solo part as written out. The concerto nevertheless embodies much of Joachim, Keynotes VIOLIN CONCERTO Dvořák s Violin Concerto was premiered in 1883, and enjoyed success throughout Europe even though its dedicatee, the famous Joseph Joachim, was not the soloist. Joachim apparently lost interest in the piece and this, as we d say, was his loss. Although it s something of a Cinderella piece relatively neglected in concert programs and the recording catalogue it is also very beautiful, particularly in the lyricism of its tender and heartfelt slow movement. And Dvořák provides a solo part that is effective in its virtuosity as well as its expression enough to delight any violinist as well as the audience. The finale is sheer fun: full of the spirit and energy of folk dances. 11

11 DE AGOSTINI / LEBRECHT MUSIC & ARTS particularly in the style of the solo writing, and Dvořák never withdrew the dedication, inscribed to Joachim in highest admiration Eschewing a conventional orchestral opening tutti for the first movement, Dvořák launches immediately into his two-part main theme the first part boldly rhythmic with full orchestra, and the second a passionate answering phrase from the solo violin. This theme, in one or other of its parts, forms the essence of the entire movement. Dvořák introduces subsidiary themes, most notably an effusive folk-like tune which appears on a flood of warm solo violin tone when the movement is already well advanced. However, the lesser themes serve in the main only as brief moments of repose while the composer gathers his forces to proceed with his main business of developing the opening subject. The development completed, Dvořák wastes no time on a conventional recapitulation of his original ideas: he merely recalls the violin s answering phrase from the opening theme, transforming it into a serenely reflective bridge which leads without a break into the sweet lyricism of the slow movement. Here the composer, in long and tender phrases, sings a song of heartfelt rapture. Dvořák scholar Otakar Šourek likens two linked thematic ideas, stated broadly by the soloist at the beginning, to the passionate embrace of lovers. Gervase Hughes The great Joseph Joachim was the dedicatee of Dvořák s only violin concerto, but although he d initially planned to give the premiere (in London in 1884), he was never to play it. 12

12 finds in this unwonted flight of lyricism the composer s first successful attempt to prove himself a truly individual romanticist by international rather than local standards. A slight increase in tempo briefly brings a sense of agitation, but the clouds lift on a sunny, folk-like melody with which the trilling violin soars, as Šourek puts it, like a lark above the flowery fragrance of Bohemian meadows. Now bolstered by the brass, the agitated motif again tries, unsuccessfully, to make its presence felt. The movement ends with the main theme, in tranquillity. If the thematic material of the slow movement, as Šourek suggests, is deeply rooted in the soil of Czech folk music, then the finale is even more overtly nationalistic. This is a spirited homage to Czech national dance, fundamentally a vigorous, syncopated furiant. Interspersed with this dance, rondo-fashion, is first a cheerful oboe motif taken up by the flute; then a swelling dolce theme on solo violin; and last a highly bucolic, faintly melancholy section in characteristic dumka rhythm. Neither pure rondo nor sonata, the movement reiterates all three subsidiary themes in different guises (as the main theme is itself varied on every appearance). At the end the dumka returns, now in great good humour, and the main theme sweeps the concerto to a taut, forceful conclusion. like a lark above the flowery fragrance of Bohemian meadows OTAKAR ŠOUREK ANTHONY CANE 1999 The orchestra for Dvořák s Violin Concerto comprises pairs of flutes, oboes, clarinets and bassoons; four horns and two trumpets; timpani and strings. The SSO first performed the concerto in 1953 with Eugene Goossens conducting and Eugene Prokop as soloist. The most recent performance was in 2009 with Vladimir Ashkenazy and violinist Janine Jansen. Make music your legacy and inspire others to join in your commitment. Join the Stuart Challender Legacy Society and find out how making a bequest can bring you closer to your orchestra today. Contact Jennifer Drysdale on (02) jennifer.drysdale@sydneysymphony.com 13

13 NEW IN 2016! Playlist is your perfect introduction to classical music. A one-hour informal concert in which a member of the SSO curates a unique program their Playlist of music that has inspired them and shaped their life. Join us at the bar and meet the musicians after each concert! LERIDA DELBRIDGE Assistant Concertmaster RICHARD MILLER Principal Timpani ALEXANDRE OGUEY Principal Cor Anglais Lerida s Playlist Tue 15 Mar 6.30pm Music by Mendelssohn, Fauré, Copland, Mahler and Bach, and including VAUGHAN WILLIAMS The Lark Ascending Andrew Haveron violin-director Lerida Delbridge violin Rick s Playlist Tue 24 May 6.30pm Music by JS Bach, Beethoven, Wagner, Elgar and Stravinsky, and including MOZART Serenata notturna, K239 Brett Weymark conductor Alexandre s Playlist Tue 1 Nov 6.30pm Music by Bach, Haydn, Martin, Schoenberg and Schubert, and including RAVEL Mother Goose: The Enchanted Garden Toby Thatcher conductor ALL THREE CONCERTS FROM $99! CITY RECITAL HALL, ANGEL PLACE NO FEES WHEN YOU BOOK THESE CONCERTS ONLINE AT sydneysymphony.com/subscriptions Call Mon Fri 9am 5pm CONVENIENCE SAVINGS FLEXIBILITY PRIORITY

14 MORE MUSIC ANNE-SOPHIE MUTTER PLAYS DVOŘÁK In 2013 Anne-Sophie Mutter returned to the Berlin Philharmonic to record Dvořák s Violin Concerto with conductor Manfred Honeck. The disc is completed with three short Dvořák pieces: Mazurek, Op.49; Romance, Op.11 and the famous Humoresque, Op.110. DEUTSCHE GRAMMOPHON DEUTSCHE GRAMMOPHON (with bonus DVD) MORE DVOŘÁK Among recently released collections of Dvořák s orchestral music is Dvořák: Complete Symphonies and Concertos with Jiří Bělohlávek conducting the Czech Philharmonic. The concerto soloists are Alisa Weilerstein (who plays the Dvořák cello concerto with the SSO in 2016), violinist Frank Peter Zimmerman and pianist Garrick Ohlsson. DECCA HEROIC BEETHOVEN The impressive theme from the finale of the Eroica Symphony clearly resonated with significance for Beethoven. He first used it in his ballet music The Creatures of Prometheus (another heroic topic), then in a set of contredanses, and in 1802 as the theme for his Op.35 piano variations. You can hear the ballet music in a recording by the Scottish Chamber Orchestra and Charles Mackerras. And Emanuel Ax plays the variations in an album that also includes Schumann s Symphonic Etudes. HELIOS (Prometheus) SONY (Variations) ANNE-SOPHIE MUTTER Anne-Sophie Mutter s most recent release out just last month is The Club Album from the Yellow Lounge, recorded live over two evenings in the Berlin nightclub. She was joined by pianist Lambert Orkis and violinists Noa Wildschut and Nancy Zhou, and Mutter s Virtuosi were conducted by Mahan Esfahani. The music ranges from Bach, Vivaldi, Brahms and Debussy to Americans Gershwin, Copland and John Williams, and there s even an Aussie in the mix with Arthur Benjamin s Jamaican Rumba. (Also available as a CD+DVD combo and on blu-ray.) DEUTSCHE GRAMMOPHON Last year Anne-Sophie Mutter and Lambert Orkis released an album marking 25 years of duo recordings for Deutsche Grammophon, a 2CD set The Silver Album. The music of Brahms is well represented, as is Mozart and Beethoven. And there are shorter pieces by Debussy, Massenet and Ravel, together with a selection of classic encore pieces by Fritz Kreisler. Among the newly recorded works are premiere recordings of André Previn s Violin Sonata No.2 and La Follia by Krzysztof Penderecki. HRŮŠA CONDUCTS DVOŘÁK Jakub Hrůša has released a number of recordings of Czech orchestral music for the national label Supraphon, including four albums featuring the music of Dvořák (visit for more information). Definitely worth seeking out is the elegant and lyrical recording of Dvořák s serenades (for strings and for winds) together with the Meditation on an Old Czech hymn St Wenceslas. SUPRAPHON CD 3932 Broadcast Diary September October abc.net.au/classic Saturday 26 September, 8pm ANNE-SOPHIE MUTTER PLAYS DVOŘÁK See this program for details. Saturday 10 October, 2pm SIBELIUS 2 David Robertson conductor Andrew Haveron violin Sculthorpe, Walton, Sibelius Tuesday 20 October, 9.30pm BEETHOVEN S MISSA SOLEMNIS David Robertson conductor Susanna Phillips, Olesya Petrova, Stuart Skelton, Shenyang vocal soloists Sydney Philharmonia Choirs SSO Radio Selected SSO performances, as recorded by the ABC, are available on demand: sydneysymphony.com/sso_radio SYDNEY SYMPHONY ORCHESTRA HOUR Tuesday 13 October, 6pm Musicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya. finemusicfm.com 15

15 Ludwig van Beethoven Symphony No.3 in E flat, Op.55, Eroica Allegro con brio Marcia funèbre (Adagio assai) Scherzo (Allegro vivace) Finale (Allegro molto) It can be misleading to read too much of the personal circumstances of a composer into the character of his music. (Does Beethoven s Second Symphony really convey the feelings of a man struggling with encroaching deafness and despair?) Even so, the heroic works of Beethoven s middle period do contain more than a little of Beethoven the man. Or, perhaps more accurately, they contain more than a little of our conception of Beethoven as hero. From that viewpoint, who can the hero of the Eroica Symphony be but the composer himself? At face value Beethoven was an unlikely hero unattractive, quarrelsome and uncompromising but he was embraced by the Viennese aristocracy who recognised his musical genius. Beethoven s various patrons encouraged him to disregard the more conservative criticism he encountered and to foster the novel character and technical difficulties of his music. This he had done to varying degrees and, on the whole, he had been well-received even in his more eccentric moments. But the Eroica Symphony of 1803 represented a rapid development in style and a serious challenge to convention. The dedicatee of the Eroica, Prince Lobkowitz, purchased the rights to the symphony for his own use prior to publication and presented several performances before its public premiere on 7 April Even then, the symphony s reception was polarised. On the one hand were listeners who judged the symphony a masterpiece and dismissed those it didn t please as insufficiently cultivated, on the other hand were listeners who heard only a wilful and unnecessary departure from the style that had pleased them so much in the first two symphonies. The Eroica Symphony demanded serious attention of its listeners it was the focal point of the concert program, not a diversion or something to frame other compositions. Its motivation was not purely musical as might have reasonably been expected nor was it representational, despite the Eroica title. The subjective outlook of the Eroica was something new. Beethoven seemed to be saying that a symphony was now capable of expressing ideals, of speaking for as well as to humanity. Keynotes BEETHOVEN Born Bonn, 1770 Died Vienna, 1827 Beethoven is the master of the absolute or abstract symphony. Yet two of his symphonies bear descriptive or evocative titles, and others, such as the Fifth, have attracted fanciful interpretations almost from the outset. The famous story behind the Eroica Symphony explains something of its monumental character. It was also the first of Beethoven s so-called heroic works. EROICA SYMPHONY When the Eroica Symphony was given its public premiere in 1805 it was the longest symphony that had ever been written: more than 45 minutes. This gave it a grandeur of physical scale that went with the universal tone of its final title, Heroic Symphony, composed to celebrate the memory of a great man. You can read about how the symphony was inspired by Napoleon and then the title scratched out. But according to Beethoven the meaning of the symphony could be heard in the first eight notes played by the cellos the outline of a simple chord. In other words, for all its heroic character, the symphony is about music. The first movement is followed by a tragic funeral march; the intensity is broken by the playful scherzo; and the finale expands on a theme taken from Beethoven s ballet, The Creatures of Prometheus. 16

16 Portrait of Beethoven made in 1804 by his friend WJ Mähler its symbolism looks back to Classicism (the lyre in his left hand, the temple in the background) and forward to Romanticism (the dramatic blasted tree and moody atmosphere). In this respect the Eroica was critical in the history of the symphony, matched in impact only by Beethoven s Ninth. In purely musical terms it was equally revolutionary. It was purposely written much longer than is usual and is twice as long as any of the symphonies composed by Haydn or Mozart. It expands the classical forms to monumental proportions, filling them with an abundance of thematic ideas and subjecting them to an unprecedented complexity and density of working out. This was the first of Beethoven s symphonies to carry a title, Sinfonia eroica. The inspiration was Napoleon s expedition to Egypt, and Beethoven saw in the First Consul of the Republic an apostle of new ideas and perhaps a little of his own uncompromising will. But when Beethoven heard that Napoleon had crowned himself Emperor the words intitolata Buonaparte were scratched out and later replaced by Heroic Symphony, composed to celebrate the memory of a great man. With this gesture the symphony was freed from any risk of petty pictorialism, in much the same way that the symphony itself freed music. The conflicts of the symphony became idealised; the Funeral March, supposedly prompted by the rumour It expands the classical forms to monumental proportions 17

17 LEBRECHT MUSIC & ARTS The cover page of Beethoven s Third Symphony. When Napoleon declared himself Emperor in 1804, Beethoven scratched out the words intitolata Buonaparte. The symphony was given the title Sinfonia eroica when it was published in of Nelson s death in the Battle of Aboukir, grew in significance, too big to lead to the tomb of a single man. The hero is not Napoleon he had shown himself to be nothing but an ordinary man or any other individual, and no identifiable nations are party to the struggle (that must wait for Napoleon s downfall in Wellington s Victory). In one sense the Eroica s battles are entirely musical and music is the hero. When asked what the Eroica meant, Beethoven went to the piano and played, by way of an answer, the first eight notes of the symphony s main theme. It is a simple motif, outlining the key of the symphony by tracing the notes of an E flat major chord, and Beethoven introduces it not with his customary disorienting introduction but with two authoritative thunderclaps from the orchestra. This apparently meagre material is all the more powerful for its directness and Beethoven develops it into a vast but detailed movement. The second movement, a funeral march, draws on the rhetoric of the revolutionary music and seemed to speak most directly to the first audiences. One contemporary reviewer declared it a triumph of invention and design of which only a true genius was capable. Following this expression of intense grief, the third movement is blessedly playful and humorous, a Scherzo by name as well as by nature. For the first time the contrasting trio section with its connotations of the hunt is integrated into the movement. The monumental scale of the symphony demands an adaptation of Classical forms and suddenly a simple pair of alternating dances is insufficient to the weight of material and expression. The Finale is based on a passacaglia-like theme from Beethoven s ballet The Creatures of Prometheus (1801) and the connection with another hero cannot be accidental. The theme had turned up again in a set of contredanses and, more significantly, is the theme of the Piano Variations Op.35,...the Funeral March is too big to lead to the tomb of a single man. 18

18 completed in The theme is simple and impulsive, as befits its dance origins, but in this final, symphonic embodiment Beethoven transforms it into a hymn to the generous sentiments of the Revolution: freedom and equality. The early reviews of the Eroica emphasised its unity of structure and material, a marked shift from the prevailing assessment of Beethoven s music as fantastic, wild and unconstrained. It has been suggested that the Prometheus theme was also the primary source for the material of the other three movements, demonstrating how quickly Beethoven had shifted the focus and weight of his symphonic thinking from the first movement to the last. This shift was inevitable in a composer for whom beauty, purpose and truth could only be won through a struggle, and whose music is an expression of human experience....the connection with another hero cannot be accidental. YVONNE FRINDLE 2001/2011 Beethoven s Eroica Symphony calls for pairs of flutes, oboes, clarinets and bassoons; three horns, two trumpets, timpani and strings. The SSO s earliest recorded performance of the Eroica Symphony was in 1939 under George Szell. The most recent performance was in 2011, conducted by Osmo Vänskä. Clocktower Square, Argyle Street, The Rocks NSW 2000 GPO Box 4972, Sydney NSW 2001 Telephone (02) Box Office (02) Facsimile (02) All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing. The opinions expressed in this publication do not necessarily reflect the beliefs of the editor, publisher or any distributor of the programs. While every effort has been made to ensure accuracy of statements in this publication, we cannot accept responsibility for any errors or omissions, or for matters arising from clerical or printers errors. Every effort has been made to secure permission for copyright material prior to printing. Please address all correspondence to the Publications Editor: program.editor@sydneysymphony.com Sydney Opera House Trust Trustees: Nicholas Moore [Chair], Catherine Brenner, The Hon Helen Coonan, Brenna Hobson, Chris Knoblanche am, Deborah Mailman, Peter Mason am, Jillian Segal am, Robert Wannan, Phillip Wolanski am Chief Executive Officer: Louise Herron am SYDNEY OPERA HOUSE Administration (02) Bennelong Point Box Office (02) GPO Box 4274 Facsimile (02) Sydney NSW 2001 Website sydneyoperahouse.com PAPER PARTNER SYMPHONY SERVICES INTERNATIONAL Suite 2, Level 5, 1 Oxford Street, Darlinghurst NSW 2010 PO Box 1145, Darlinghurst NSW 1300 Telephone (02) Facsimile (02) This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN ABN Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021 PO Box 410, Paddington NSW 2021 Telephone: Fax: admin@playbill.com.au Website: Chairman & Advertising Director Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager Production Classical Music Alan Ziegler Operating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title Playbill is the registered title of Playbill Proprietary Limited. Title Showbill is the registered title of Showbill Proprietary Limited. By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication / S S80/82 19

19 THE ARTISTS ZBYNĚK MADĚRYČ Jakub Hrůša conductor Born in the Czech Republic, Jakub Hrůša served as Music Director and Chief Conductor of the PKF Prague Philharmonia from 2009 to He is also Principal Guest Conductor of the Tokyo Metropolitan Symphony Orchestra and in June was named Permanent Guest Conductor of the Czech Philharmonic. It was recently announced that he will take up the post of Chief Conductor of the Bamberg Symphony Orchestra in Originally from Brno, he studied at the Academy of Performing Arts, Prague, where his teachers included Jiří Bělohlávek. Since graduating in 2004, he has conducted all the major Czech orchestras, and is a regular guest with orchestras such as the Philharmonia, Leipzig Gewandhaus, Stuttgart Radio Symphony (SWR) and WDR Cologne, as well as the Orchestre Philharmonique de Radio France and the Cleveland Orchestra. He gave his first Australian performance in 2009 with the West Australian Symphony Orchestra, followed by debuts with the Sydney and Melbourne symphony orchestras. He returned to Melbourne in 2012, conducting the Czech Philharmonic Orchestra, and his most recent appearance in Sydney was in Recent highlights have included two major series with the Philharmonia Orchestra: Bohemian Legends, and Tchaikovsky and the Mighty Five. He has also made debut appearances with the Philadelphia Orchestra, Los Angeles Philharmonic, Vienna Symphony Orchestra, Deutsche Symphonie Orchester Berlin and the Russian National Orchestra. In the season he will make his Royal Concertgebouw Orchestra debut. As a conductor of opera, he has been a regular guest with the Glyndebourne Festival since 2008, conducting Carmen, The Turn of the Screw, Don Giovanni and La bohème, and was Music Director of Glyndebourne on Tour ( ). He has also conducted for Paris Opera (Rusalka), Finnish National Opera (Jenu fa), Royal Danish Opera (Boris Godunov) and the Prague National Theatre (Rusalka and The Cunning Little Vixen, which he will also conduct at Glyndebourne in 2016). In he will make debut appearances with Vienna State Opera (The Makropulos Case) and Frankfurt Opera (Il trittico). His discography includes an acclaimed live recording of Smetana s Má vlast from the Prague Spring Festival, as well as the Tchaikovsky and Bruch violin concertos (Nicola Benedetti and the Czech Philharmonic), and live recordings of Berlioz s Symphonie fantastique, Strauss s Alpine Symphony and Suk s Asrael Symphony with the Tokyo Metropolitan Symphony Orchestra. He is currently President of the International Martinů Circle. 20

20 ANJA FRERS / DG Anne-Sophie Mutter violin Anne-Sophie Mutter is one of the most famous violin virtuosos of our time and in 2016 will celebrate the 40th anniversary of her debut at the age of 13 in the Lucerne Festival in A year later, she performed at the Salzburg Whitsun Concerts under the baton of Herbert von Karajan. A four-time Grammy Award winner, she gives concerts in all the important music centres of the world, performing not only traditional repertoire but introducing her listeners to new works. Sebastian Currier, Henri Dutilleux, Sofia Gubaidulina, Witold Lutosławski, Norbert Moret, Krzysztof Penderecki, André Previn and Wolfgang Rihm have all dedicated works to her. In addition, she is involved in many charity projects and fosters the development of tomorrow s musical elite through the Anne- Sophie Mutter Foundation, established in This season she will appear in the Salzburg Summer and Easter festivals, and perform with the London Symphony Orchestra, Pittsburgh Symphony Orchestra, Bavarian Radio Orchestra and the Vienna, Berlin and Czech philharmonic orchestras. Her concerts will also include a recital tour with pianist Lambert Orkis, tours with Mutter s Virtuosi (an ensemble comprising current and former scholarship holders of her Foundation), and performances in clubs in various European cities. At the end of this year she will perform virtuoso showpieces by Saint-Saëns and Ravel in the Berlin Philharmonic s New Year s Concerts, conducted by Simon Rattle. In addition to performing the Dvořák concerto with the Czech Philharmonic and in Pittsburgh, she will play the Brahms concerto with the London Symphony Orchestra and Thomas Adès, and with Yefim Bronfman and Lynn Harrell she will perform the Beethoven Triple Concerto in Salzburg and Dresden. These three artists will also tour Europe together for the first time, performing trios by Beethoven and Tchaikovsky. In addition to her Grammy Awards, Anne- Sophie Mutter has received nine ECHO Klassik awards, the German Record Prize, the Record Academy prize, the Grand Prix du Disque and the International Record Prize. In 2006 she marked Mozart s 250th birthday with new recordings of Mozart s important violin compositions. In 2011 Deutsche Grammophon celebrated her 35th stage anniversary with a comprehensive boxed set, and she also released an album of premiere recordings of works dedicated to her. In 2013, she released her first recording of the Dvořák Violin Concerto with the Berlin Philharmonic and Manfred Honeck. In January, Anne-Sophie Mutter was named an Honorary Fellow of Oxford University s Keble College. Her recent accolades and honours also include: Foreign Honorary Member of the American Academy of Arts and Sciences, Order of the Lutosławski Society (Warsaw), the Distinguished Artistic Leadership Award (awarded by the Atlantic Council), the Brahms prize, the Erich-Fromm and Gustav-Adolf prizes for her social involvement, and an honorary doctorate from the Norwegian University of Science and Technology in Trondheim. In 2009 she was distinguished with the European St Ullrichs prize as well as the Cristobal Gabarron award; in 2008 she received the International Ernst von Siemens Music prize and the Leipzig Mendelssohn prize. She has also received the Grand Cross of the Order of Merit of the Federal Republic of Germany, the French Order of the Legion of Honour, the Bavarian Order of Honour, the Grand Austrian State Decoration of Honour and numerous other awards. 21

21 SYDNEY SYMPHONY ORCHESTRA DAVID ROBERTSON THE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR PATRON Professor The Hon. Dame Marie Bashir ad cvo Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony Orchestra has evolved into one of the world s finest orchestras as Sydney has become one of the world s great cities. Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the SSO also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA including three visits to China have earned the orchestra worldwide recognition for artistic excellence. The orchestra s first Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenĕk Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to The orchestra s history also boasts collaborations with legendary figures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky. The SSO s award-winning education program is central to its commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The orchestra promotes the work of Australian composers through performances, recordings and its commissioning program. Recent premieres have included major works by Ross Edwards, Lee Bracegirdle, Gordon Kerry, Mary Finsterer, Nigel Westlake and Georges Lentz, and the orchestra s recordings of music by Brett Dean have been released on both the BIS and SSO Live labels. Other releases on the SSO Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras, Vladimir Ashkenazy and David Robertson. In the orchestra made concert recordings of the complete Mahler symphonies with Ashkenazy, and has also released recordings of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, as well as numerous recordings on ABC Classics. This is the second year of David Robertson s tenure as Chief Conductor and Artistic Director. 22

22 MUSICIANS David Robertson THE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR Andrew Haveron CONCERTMASTER Dene Olding CONCERTMASTER Toby Thatcher ASSISTANT CONDUCTOR SUPPORTED BY CREDIT SUISSE, RACHEL & GEOFFREY O CONOR AND SYMPHONY SERVICES INTERNATIONAL FIRST VIOLINS Dene Olding CONCERTMASTER Sun Yi ASSOCIATE CONCERTMASTER Kirsten Williams ASSOCIATE CONCERTMASTER Lerida Delbridge ASSISTANT CONCERTMASTER Fiona Ziegler ASSISTANT CONCERTMASTER Jenny Booth Sophie Cole Amber Davis Claire Herrick Georges Lentz Emily Long Nicola Lewis Alexandra Mitchell Léone Ziegler Emily Qin Andrew Haveron CONCERTMASTER Alexander Norton SECOND VIOLINS Kirsty Hilton Marina Marsden Marianne Broadfoot Emma Jezek ASSISTANT PRINCIPAL Freya Franzen Emma Hayes Stan W Kornel Benjamin Li Nicole Masters Philippa Paige Maja Verunica Victoria Bihun Monique Irik Cristina Vaszilcsin* Maria Durek Shuti Huang Biyana Rozenblit VIOLAS Roger Benedict Justin Williams ASSISTANT PRINCIPAL Jane Hazelwood Graham Hennings Stuart Johnson Justine Marsden Felicity Tsai Amanda Verner Leonid Volovelsky Jacqueline Cronin* Charlotte Fetherston Elizabeth Woolnough Tobias Breider Anne-Louise Comerford Sandro Costantino Rosemary Curtin CELLOS Umberto Clerici Catherine Hewgill Kristy Conrau Fenella Gill Timothy Nankervis Elizabeth Neville Christopher Pidcock Adrian Wallis David Wickham Rebecca Proietto Leah Lynn ASSISTANT PRINCIPAL DOUBLE BASSES Kees Boersma Alex Henery Neil Brawley PRINCIPAL EMERITUS David Campbell Steven Larson Benjamin Ward Josef Bisits John Keene Richard Lynn FLUTES Emma Sholl Carolyn Harris Janet Webb Rosamund Plummer PRINCIPAL PICCOLO OBOES Diana Doherty David Papp Shefali Pryor Alexandre Oguey PRINCIPAL COR ANGLAIS CLARINETS Francesco Celata Christopher Tingay Craig Wernicke PRINCIPAL BASS CLARINET BASSOONS Matthew Wilkie Fiona McNamara Noriko Shimada PRINCIPAL CONTRABASSOON HORNS Robert Johnson Geoffrey O Reilly PRINCIPAL 3RD Rachel Silver Kara Hahn Jenny McLeod-Sneyd* Ben Jacks Euan Harvey Marnie Sebire TRUMPETS David Elton Rosie Turner Paul Goodchild Anthony Heinrichs TROMBONES Ronald Prussing Scott Kinmont Nick Byrne Christopher Harris PRINCIPAL BASS TROMBONE TUBA Steve Rossé TIMPANI Richard Miller Mark Robinson ASSISTANT PRINCIPAL PERCUSSION Rebecca Lagos Timothy Constable HARP Louise Johnson Bold = PRINCIPAL Italics = ASSOCIATE PRINCIPAL = CONTRACT MUSICIAN * = GUEST MUSICIAN = SSO FELLOW Grey = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: If you don t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer. The men of the Sydney Symphony Orchestra are proudly outfitted by Van Heusen. 23

23 BEHIND THE SCENES Sydney Symphony Orchestra Board Terrey Arcus AM Chairman Andrew Baxter Ewen Crouch AM Ross Grant Catherine Hewgill Jennifer Hoy Rory Jeffes David Livingstone The Hon. Justice AJ Meagher Goetz Richter Sydney Symphony Orchestra Council Geoff Ainsworth AM Doug Battersby Christine Bishop The Hon John Della Bosca MLC John C Conde ao Michael J Crouch AO Alan Fang Erin Flaherty Dr Stephen Freiberg Simon Johnson Gary Linnane Helen Lynch AM David Maloney AM Justice Jane Mathews AO Danny May Jane Morschel Dr Eileen Ong Andy Plummer Deirdre Plummer Seamus Robert Quick Paul Salteri AM Sandra Salteri Juliana Schaeffer Fred Stein OAM John van Ogtrop Brian White Rosemary White HONORARY COUNCIL MEMBERS Ita Buttrose AO OBE Donald Hazelwood AO OBE Yvonne Kenny AM David Malouf AO Wendy McCarthy AO Leo Schofield AM Peter Weiss AO Anthony Whelan mbe Sydney Symphony Orchestra Staff MANAGING DIRECTOR Rory Jeffes EXECUTIVE TEAM ASSISTANT Lisa Davies-Galli ARTISTIC OPERATIONS DIRECTOR OF ARTISTIC PLANNING Benjamin Schwartz ARTISTIC ADMINISTRATION MANAGER Eleasha Mah ARTIST LIAISON MANAGER Ilmar Leetberg RECORDING ENTERPRISE MANAGER Philip Powers Library Anna Cernik Victoria Grant Mary-Ann Mead LEARNING AND ENGAGEMENT DIRECTOR OF LEARNING AND ENGAGEMENT Linda Lorenza EMERGING ARTISTS PROGRAM MANAGER Rachel McLarin EDUCATION MANAGER Amy Walsh EDUCATION OFFICER Tim Walsh ORCHESTRA MANAGEMENT DIRECTOR OF ORCHESTRA MANAGEMENT Aernout Kerbert ORCHESTRA MANAGER Rachel Whealy ORCHESTRA COORDINATOR Rosie Marks-Smith OPERATIONS MANAGER Kerry-Anne Cook HEAD OF PRODUCTION Laura Daniel STAGE MANAGER Courtney Wilson PRODUCTION COORDINATORS Elissa Seed Ollie Townsend PRODUCER, SPECIAL EVENTS Mark Sutcliffe SALES AND MARKETING DIRECTOR OF SALES & MARKETING Mark J Elliott MARKETING MANAGER, SUBSCRIPTION SALES Simon Crossley-Meates SENIOR SALES & MARKETING MANAGER Penny Evans A/ SENIOR SALES & MARKETING MANAGER Matthew Rive MARKETING MANAGER, WEB & DIGITAL MEDIA Eve Le Gall MARKETING MANAGER, CRM & DATABASE Matthew Hodge A/ SALES & MARKETING MANAGER, SINGLE TICKET CAMPAIGNS Jonathon Symonds DATABASE ANALYST David Patrick SENIOR GRAPHIC DESIGNER Christie Brewster GRAPHIC DESIGNER Tessa Conn SENIOR ONLINE MARKETING COORDINATOR Jenny Sargant MARKETING ASSISTANT Laura Andrew Box Office MANAGER OF BOX OFFICE SALES & OPERATIONS Lynn McLaughlin BOX OFFICE SYSTEMS SUPERVISOR Jennifer Laing BOX OFFICE BUSINESS ADMINISTRATOR John Robertson CUSTOMER SERVICE REPRESENTATIVES Karen Wagg CS Manager Rosie Baker Michael Dowling Publications PUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER Yvonne Frindle EXTERNAL RELATIONS DIRECTOR OF EXTERNAL RELATIONS Yvonne Zammit Philanthropy PHILANTHROPY MANAGER Jennifer Drysdale PATRONS EXECUTIVE Sarah Morrisby PHILANTHROPY COORDINATOR Claire Whittle Corporate Relations CORPORATE PARTNERSHIPS MANAGER Belinda Besson CORPORATE PARTNERSHIPS EXECUTIVE Paloma Gould Communications COMMUNICATIONS & MEDIA MANAGER Bridget Cormack PUBLICIST Caitlin Benetatos MULTIMEDIA CONTENT PRODUCER Kai Raisbeck BUSINESS SERVICES DIRECTOR OF FINANCE John Horn FINANCE MANAGER Ruth Tolentino ACCOUNTANT Minerva Prescott ACCOUNTS ASSISTANT Emma Ferrer PAYROLL OFFICER Laura Soutter PEOPLE AND CULTURE IN-HOUSE COUNSEL Michel Maree Hryce 24

24 SSO PATRONS Maestro s Circle Supporting the artistic vision of David Robertson, Chief Conductor and Artistic Director Peter Weiss AO Founding President & Doris Weiss Terrey Arcus AM Chairman & Anne Arcus Brian Abel Tom Breen & Rachel Kohn The Berg Family Foundation John C Conde AO Andrew Kaldor AM & Renata Kaldor AO Vicki Olsson Roslyn Packer AO David Robertson & Orli Shaham Penelope Seidler AM Mr Fred Street AM & Dorothy Street Brian White AO & Rosemary White Ray Wilson OAM in memory of the late James Agapitos OAM David Robertson Chair Patrons David Robertson The Lowy Chair of Chief Conductor and Artistic Director Roger Benedict Principal Viola Kim Williams AM & Catherine Dovey Chair Kees Boersma Principal Double Bass SSO Council Chair Umberto Clerici Principal Cello Garry & Shiva Rich Chair Timothy Constable Percussion Justice Jane Mathews AO Chair Lerida Delbridge Assistant Concertmaster Simon Johnson Chair Diana Doherty Principal Oboe John C Conde AO Chair Richard Gill oam Artistic Director, DownerTenix Discovery Paul Salteri AM & Sandra Salteri Chair Jane Hazelwood Viola Bob & Julie Clampett Chair in memory of Carolyn Clampett Catherine Hewgill Principal Cello The Hon. Justice AJ & Mrs Fran Meagher Chair Robert Johnson Principal Horn James & Leonie Furber Chair Leah Lynn Assistant Principal Cello SSO Vanguard Chair With lead support from Taine Moufarrige, Seamus R Quick, and Chris Robertson & Katherine Shaw Elizabeth Neville Cello Ruth & Bob Magid Chair Shefali Pryor Associate Principal Oboe Mrs Barbara Murphy Chair Emma Sholl Associate Principal Flute Robert & Janet Constable Chair Janet Webb Principal Flute Helen Lynch AM & Helen Bauer Chair Kirsten Williams Associate Concertmaster I Kallinikos Chair James and Leonie Furber have been SSO subscribers for more than 40 years and love the complex role the horn plays in orchestral music. So when the chance arose to support Robert Johnson s chair, they were thrilled to take the opportunity. Over the years they ve enjoyed getting to know Robert and exploring James s eclectic music collection together. n n n n n n n n n n FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM, CALL (02) KEITH SAUNDERS 25

25 SSO PATRONS Learning & Engagement Foundations KEITH SAUNDERS A U S T R A L I A - K O R E A F O U N D A T I O N Commissioning Circle Sydney Symphony Orchestra 2015 Fellows fellowship patrons Robert Albert AO & Elizabeth Albert Flute Chair Christine Bishop Percussion Chair Sandra & Neil Burns Clarinet Chair In Memory of Matthew Krel Violin Chair Mrs T Merewether OAM Horn Chair Paul Salteri AM & Sandra Salteri Violin and Viola Chairs Mrs W Stening Cello Chair Kim Williams AM & Catherine Dovey Patrons of Roger Benedict, Artistic Director, Fellowship June & Alan Woods Family Bequest Bassoon Chair Anonymous Double Bass Chair Anonymous Trumpet Chair Supporting the creation of new works. ANZAC Centenary Arts and Culture Fund Geoff Ainsworth AM Christine Bishop Dr John Edmonds Andrew Kaldor AM & Renata Kaldor AO Jane Mathews AO Mrs Barbara Murphy Nexus IT Vicki Olsson Caroline & Tim Rogers Geoff Stearn Dr Richard T White Anonymous fellowship supporting patrons Mr Stephen J Bell Joan MacKenzie Scholarship Drs Eileen & Keith Ong In Memory of Geoff White tuned-up! TunED-Up! is made possible with the generous support of Fred Street AM & Dorothy Street Additional support provided by: Anne Arcus & Terrey Arcus AM Ian & Jennifer Burton Ian Dickson & Reg Holloway Mrs Barbara Murphy Tony Strachan major education donors Bronze Patrons & above John Augustus & Kim Ryrie Bob & Julie Clampett Howard & Maureen Connors The Greatorex Foundation J A McKernan Barbara Maidment Mr & Mrs Nigel Price Drs Eileen & Keith Ong Mr Robert & Mrs Rosemary Walsh Patrons allow us to dream of projects, and then share them with others. What could be more rewarding? DAVID ROBERTSON SSO Chief Conductor and Artistic Director BECOME A PATRON TODAY. Call: (02) philanthropy@sydneysymphony.com 26

26 Stuart Challender Legacy Society Celebrating the vision of donors who are leaving a bequest to the SSO. Henri W Aram OAM & Robin Aram Stephen J Bell Mr David & Mrs Halina Brett R Burns Howard Connors Greta Davis Jennifer Fulton Brian Galway Michele Gannon-Miller Miss Pauline M Griffin AM John Lam-Po-Tang Peter Lazar AM Daniel Lemesle Louise Miller James & Elsie Moore Vincent Kevin Morris & Desmond McNally Mrs Barbara Murphy Douglas Paisley Kate Roberts Mary Vallentine AO Ray Wilson OAM Anonymous (10) Stuart Challender, SSO Chief Conductor and Artistic Director bequest donors We gratefully acknowledge donors who have left a bequest to the SSO. The late Mrs Lenore Adamson Estate of Carolyn Clampett Estate Of Jonathan Earl William Clark Estate of Colin T Enderby Estate of Mrs E Herrman Estate of Irwin Imhof The late Mrs Isabelle Joseph The Estate of Dr Lynn Joseph The Late Greta C Ryan Estate of Rex Foster Smart June & Alan Woods Family Bequest n n n n n n n n n n IF YOU WOULD LIKE MORE INFORMATION ON MAKING A BEQUEST TO THE SSO, PLEASE CONTACT LUKE GAY ON Playing Your Part The Sydney Symphony Orchestra gratefully acknowledges the music lovers who donate to the orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. DIAMOND PATRONS $50,000+ Anne & Terrey Arcus am In Memory of Matthew Krel Mr Frank Lowy ac & Mrs Shirley Lowy oam Roslyn Packer ao Paul Salteri am & Sandra Salteri Estate of the late Rex Foster Smart Peter Weiss ao & Doris Weiss Mr Brian White ao & Mrs Rosemary White PLATINUM PATRONS $30,000 $49,999 Doug and Alison Battersby Mr John C Conde ao Robert & Janet Constable Mr Andrew Kaldor am & Mrs Renata Kaldor ao Mrs Barbara Murphy Vicki Olsson Mrs W Stening Mr Fred Street am & Mrs Dorothy Street Kim Williams am & Catherine Dovey GOLD PATRONS $20,000 $29,999 Brian Abel Robert Albert ao & Elizabeth Albert The Berg Family Foundation Tom Breen & Rachael Kohn Sandra & Neil Burns Estate of Jonathan Earl William Clark James & Leonie Furber I Kallinikos Helen Lynch am & Helen Bauer Justice Jane Mathews ao Mrs T Merewether oam Rachel & Geoffrey O Conor Andy & Deirdre Plummer Garry & Shiva Rich David Robertson & Orli Shaham Mrs Penelope Seidler am G & C Solomon in memory of Joan MacKenzie Ray Wilson oam in memory of James Agapitos oam Anonymous (2) SILVER PATRONS $10,000 $19,999 Geoff Ainsworth am Christine Bishop Audrey Blunden Mr Robert Brakspear Mr Robert & Mrs L Alison Carr Bob & Julie Clampett Michael Crouch ao & Shanny Crouch Ian Dickson & Reg Holloway Paul Espie Edward & Diane Federman Nora Goodridge Mr Ross Grant The Estate of Mr Irwin Imhof Simon Johnson Ruth & Bob Magid Susan Maple-Brown The Hon Justice AJ Meagher & Mrs Fran Meagher Mr John Morschel Drs Keith & Eileen Ong Mr and Mrs Nigel Price Kenneth R Reed am Mrs Joyce Sproat & Mrs Janet Cooke John Symond am The Harry Triguboff Foundation Caroline Wilkinson June & Alan Woods Family Bequest Anonymous (2) BRONZE $5,000 $9,999 Mr Henri W Aram oam John Augustus & Kim Ryrie Stephen J Bell Dr Hannes & Mrs Barbara Boshoff Boyarsky Family Trust Peter Braithwaite & Gary Linnane Ian & Jennifer Burton Rebecca Chin Mr Howard Connors David Z Burger Foundation Dr Colin Goldschmidt The Greatorex Foundation Rory & Jane Jeffes Robert Joannides Mr Ervin Katz Barbara Maidment Mora Maxwell Taine Moufarrige Robert McDougall William McIlrath Charitable Foundation J A McKernan 27

27 SSO PATRONS Playing Your Part BRONZE PATRONS CONTINUED Nexus IT John & Akky van Ogtrop Seamus Robert Quick Chris Robertson & Katherine Shaw Rodney Rosenblum am & Sylvia Rosenblum Dr Evelyn Royal Manfred & Linda Salamon Geoff Stearn Tony Strachan John & Josephine Strutt Mr Robert & Mrs Rosemary Walsh In memory of Geoff White Anonymous PRESTO $2,500 $4,999 G & L Besson Ian Brady Mr David & Mrs Halina Brett Mark Bryant oam Lenore P Buckle Mrs Stella Chen Cheung Family Dr Paul Collett Ewen Crouch am & Catherine Crouch Prof. Neville Wills & Ian Fenwicke Firehold Pty Ltd Dr Kim Frumar Warren Green Anthony Gregg Ann Hoban James & Yvonne Hocroth Mr Roger Hundson & Mrs Claudia Rossi-Hudson Dr & Mrs Michael Hunter Mr John W Kaldor AM Professor Andrew Korda am & Ms Susan Pearson In memoriam Dr Reg Lam-Po-Tang Professor Winston Liauw Mrs Juliet Lockhart Renee Markovic Helen & Phil Meddings James & Elsie Moore Ms Jackie O Brien Patricia H Reid Endowment Pty Ltd Juliana Schaeffer Helen & Sam Sheffer Dr Agnes E Sinclair Ezekiel Solomon Mr Ervin Vidor am & Mrs Charlotte Vidor Lang Walker ao & Sue Walker Westpac Group Mary Whelan & Robert Baulderstone Yim Family Foundation Dr John Yu Anonymous (3) VIVACE $1,000 $2,499 Mrs Lenore Adamson Antoinette Albert Rae & David Allen Andrew Andersons ao Mr Matthew Andrews Mr Garry and Mrs Tricia Ash Sibilla Baer The Hon Justice Michael Ball David Barnes Dr Richard & Mrs Margaret Bell In memory of Lance Bennett Ms Gloria Blonde G D Bolton Jan Bowen In memory of Jillian Bowers In Memory of Rosemary Boyle, Music Teacher Roslynne Bracher William Brooks & Alasdair Beck Mr Peter Brown In memory of R W Burley Ita Buttrose ao obe Mrs Rhonda Caddy Hon J C Campbell qc & Mrs Campbell Debby Cramer & Bill Caukill Mr B & Mrs M Coles Ms Suzanne Collins Joan Connery oam & Maxwell Connery oam Mr Phillip Cornwell Mr John Cunningham scm & Mrs Margaret Cunningham Diana Daly Darin Cooper Foundation Greta Davis Lisa & Miro Davis Dr Robert Dickinson E Donati Professor Jenny Edwards Dr Rupert C Edwards Malcolm Ellis & Erin O Neill Mrs Margaret Epps Mr & Mrs J B Fairfax am Julie Flynn Dr Stephen Freiberg & Donald Campbell Mr Matt Garrett Vivienne Goldschmidt & Owen Jones In Memory of Angelica Green Akiko Gregory Dr Jan Grose oam Mr & Mrs Harold & Althea Halliday Janette Hamilton Sandra Haslam Mrs Jennifer Hershon Sue Hewitt Dorothy Hoddinott ao Kimberley Holden Mr Kevin Holland & Mrs Roslyn Andrews The Hon. David Hunt ao qc & Mrs Margaret Hunt Mr Phillip Isaacs oam Dr Owen Jones Mrs Margaret Keogh Aron Kleinlehrer Mrs Gilles Kryger Mr Justin Lam Dr Barry Landa Beatrice Lang Mr Peter Lazar am Airdrie Lloyd Gabriel Lopata Peter Lowry oam & Carolyn Lowry oam Macquarie Group Foundation Melvyn Madigan David Maloney am & Erin Flaherty John & Sophia Mar Mr Danny R May Mr Guido Mayer Kevin & Deidre McCann Ian & Pam McGaw Matthew McInnes I Merrick Henry & Ursula Mooser Milja & David Morris Judith Mulveney Darrol Norman & Sandra Horton Mr & Mrs Ortis Andrew Patterson & Steven Bardy In memory of Sandra Paul Pottinger Mr Stephen Perkins Almut Piatti The Hon. Dr Rodney Purvis am & Mrs Marian Purvis Dr Raffi Qasabian & Dr John Wynter Mr Patrick Quinn-Graham Ernest & Judith Rapee In Memory of Katherine Robertson Mr David Robinson Tim Rogers Dr Colin Rose Lesley & Andrew Rosenberg Janelle Rostron Mr Shah Rusiti Jorie Ryan for Meredith Ryan In memory of H St P Scarlett George and Mary Shad Victoria Smyth Dr Judy Soper Judith Southam Mr Dougall Squair Catherine Stephen The Honourable Brian Sully am qc Mrs Margaret Swanson The Taplin Family Mildred Teitler Dr & Mrs H K Tey Dr Jenepher Thomas Kevin Troy John E Tuckey Judge Robyn Tupman Dr Alla Waldman In memory of Denis Wallis Miss Sherry Wang Henry & Ruth Weinberg The Hon. Justice A G Whealy Jerry Whitcomb Mrs Leonore Whyte A Willmers & R Pal Ann & Brooks C Wilson am Dr Richard Wing Evan Wong Dr Peter Wong & Mrs Emmy K Wong Geoff Wood & Melissa Waites Sir Robert Woods Lindsay & Margaret Woolveridge In memory of Lorna Wright Mrs Robin Yabsley Anonymous (20) ALLEGRO $500 $999 Nikki Abrahams Katherine Andrews Mr & Mrs George Ball Barlow Cleaning Pty Ltd Barracouta Pty Ltd Simon Bathgate Dr Andrew Bell Mr Chris Bennett Jan Biber Minnie Biggs Jane Blackmore Mrs P M Bridges R D and L M Broadfoot Dr Peter Broughton Dr David Bryant Arnaldo Buch Dr Miles Burgess Pat & Jenny Burnett Hugh & Hilary Cairns Eric & Rosemary Campbell M D & J M Chapman Jonathan Chissick Michael & Natalie Coates Dom Cottam & Kanako Imamura Ann Coventry Mr David Cross Mark Dempsey sc Dr David Dixon Susan Doenau Dana Dupere John Favaloro Mrs Lesley Finn Mr Richard Flanagan Ms Lynne Frolich Michele Gannon-Miller Ms Lyn Gearing Mr Robert Green Mr Geoffrey Greenwell Mr Richard Griffin am 28

28 SSO Vanguard In memory of Beth Harpley V Hartstein Benjamin Hasic & Belinda Davie Alan Hauserman & Janet Nash Robert Havard Mrs A Hayward Roger Henning Prof. Ken Ho & Mrs Tess Ho Dr Mary Johnsson Aernout Kerbert & Elizabeth Neville Dr Henry Kilham Jennifer King Mrs Patricia Kleinhans Anna-Lisa Klettenberg Ms Sonia Lal L M B Lamprati David & Val Landa In memory of Marjorie Lander Elaine M Langshaw Margaret Lederman Roland Lee Mrs Erna Levy Mrs A Lohan Linda Lorenza M J Mashford Ms Jolanta Masojada Kenneth Newton Mitchell Mr David Mutton Mr & Mrs Newman Mr Graham North Dr Lesley North Sead Nurkic Mr Michael O Brien Judith Olsen Dr Alice J Palmer Dr Natalie E Pelham Peter and Susan Pickles Erika Pidcock Dr John I Pitt Anne Pittman John Porter & Annie Wesley-Smith Mrs Greeba Pritchard Michael Quailey Mr Thomas Reiner Dr Marilyn Richardson Anna Ro Mr Michael Rollinson Mrs Christine Rowell-Miller Mr Kenneth Ryan Garry E Scarf & Morgie Blaxill Mrs Solange Schulz Peter & Virginia Shaw David & Alison Shilligton Mrs Diane Shteinman am Margaret Sikora Colin Spencer Titia Sprague Robert Spry Ms Donna St Clair Fred & Mary Stein Ashley & Aveen Stephenson Margaret & William Suthers Pam & Ross Tegel Mrs Caroline Thompson Peter & Jane Thornton Rhonda Ting Alma Toohey Hugh Tregarthen Mrs M Turkington Gillian Turner & Rob Bishop Ross Tzannes Mr Robert Veel Ronald Walledge Miss Roslyn Wheeler In Memoriam JBL Watt Dr Edward J Wills Dr Wayne Wong Dr Roberta Woolcott Paul Wyckaert Anonymous (32) SSO Patrons pages correct as of 7 July 2015 Create a sustainable future for orchestral music by helping to build the audiences of tomorrow. SUPPORT THE SSO EDUCATION FUND. Call: (02) philanthropy@sydneysymphony.com A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists VANGUARD COLLECTIVE Justin Di Lollo Chair Belinda Bentley Oscar McMahon Taine Moufarrige Founding Patron Shefali Pryor Seamus R Quick Founding Patron Chris Robertson & Katherine Shaw Founding Patrons MEMBERS Laird Abernethy Elizabeth Adamson Clare Ainsworth-Hershell Charles Arcus Phoebe Arcus Philip Atkin Luan Atkinson Joan Ballantine Andrew Batt-Rawden James Baudzus Andrew Baxter Adam Beaupeurt Anthony Beresford Dr Andrew Botros Peter Braithwaite Andrea Brown Nikki Brown Professor Attila Brungs Tony Chalmers Dharmendra Chandran Louis Chien Paul Colgan Claire Cooper Bridget Cormack Karynne Courts Robbie Cranfield Asha Cugati Juliet Curtin David Cutcliffe Este Darin-Cooper Rosalind De Sailly Paul Deschamps Catherine Donnelly Jennifer Drysdale John-Paul Drysdale Kerim El Gabaili Roslyn Farrar Naomi Flutter Alastair Furnival Alexandra Gibson Sam Giddings Jeremy Goff Hilary Goodson Tony Grierson Louise Haggerty Jason Hair Peter Howard Jennifer Hoy Katie Hryce Virginia Judge Paul Kalmar Jonathan Kennedy Patrick Kok John Lam-Po-Tang Tristan Landers Gary Linnane David Lo Saskia Lo Gabriel Lopata Robert McGrory Alexandra McGuigan David McKean Sarah Moufarrige Julia Newbould Nick Nichles Kate O Reilly Peter O Sullivan Cleo Posa June Pickup Roger Pickup Stephanie Price Michael Radovnikovic Katie Robertson Dr Benjamin Robinson Alvaro Rodas Fernandez Adam Sadler Professor Anthony Schembri Benjamin Schwartz Cecilia Storniolo Randal Tame Sandra Tang Ian Taylor Dr Zoe Taylor Michael Tidball Mark Trevarthen Michael Tuffy Sarah Vick Alan Watters Jon Wilkie Yvonne Zammit Amy Zhou n n n n n n n n n n 29

29 SALUTE PRINCIPAL PARTNER GOVERNMENT PARTNERS The Sydney Symphony Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body The Sydney Symphony Orchestra is assisted by the NSW Government through Arts NSW PREMIER PARTNER PLATINUM PARTNER MAJOR PARTNERS GOLD PARTNERS SILVER PARTNERS UNIVERSAL MUSIC AUSTRALIA sinf inimusic.com VANGUARD PARTNER REGIONAL TOUR PARTNER MARKETING PARTNER 30